She calls herself The Wacky Brit and it really doesn’t matter if you meet her in person or correspond with her over email, she is a hoot, not to mention one fabulous illustrator. I first met Hazel at the New York SCBWI conference and blessedly have been reading her posts and chatting with her ever since.
Another East Coast illustrator, Hazel lives in Detroit, Maine. Hazel can’t quite remember when she started drawing, it seems that she always had a project in her fingers. When asked about when she really started to illustrate Hazel was quick to answer- I started illustrating at college, and then I worked as a commercial artist for many years before finally concentrating on children's book illustration 3 years ago.
(LC) So what inspires you?
(HM) A challenge. Great work. Wanting to put down on paper an idea that won't go away. Making a connection with a child or person. Finishing!
(LC) As a writer I try and write every day, some days are better than others. How often do you work on illustrations? Do you play at all (drawing just for you) or is most of your art meant for public consumption?
(HM) Now; just about every day. If I am working on a book project I find it hard to stop. Yes I do play, I work on daily sketches and lately I started a sketch blog looking at my childhood memories (Look Back in Candour).
(LC) Do you have a schedule?
(HM) Yes! I NEED a schedule. I make a lot of lists. When I am working on a book I work out what I will do on each day to reach the deadline. Also this figures in some relax time! (ha ha!)
(LC) Who are your illustration hero’s?
(HM) E H Shepherd. Pauline Baynes. Emily Gravett. Quentin Blake. Thelwell. Ashley Bryan. Brian Selznick. Paul O Zelinsky. David Small. Dan Santat.
(LC) What is the BEST collaboration out on the market today?
(HM) There seem to be so many great illustrator/authors out there right now. For collaborators it is still probably Lane Smith and Jon Sciezka.
(LC) Do you include writers in your critique circle? If so, what do you think is the most important aspect they bring to the evolution of your work?
(HM) I am actually not in an illustrator's crit group, although I share with a couple of close friends, but I am in a writer's crit group. This is because I am writing alongside illustrating at the moment.
(LC) When I, a writer, first started looking into writing a children’s book I struggled for months after I discovered that writer’s don’t get a say in who illustrates their book topic. As an illustrator how do you feel about being paired with a manuscript? Do you talk to the writer much and if so when in the process?
(HM) I am just happy to be paired with a manuscript! I sometimes get feedback from the writer via the art director, and that works fine. The illustrator needs to be left alone for the most part to do their job and bring their vision to the project. That's why they have been hired. It's constricting to have too much input. A talented art director is invaluable. I know that sometimes writers are asked about who they would suggest as an illustrator, so it's not totally closed off, especially as you get more books published.
(LC) What is your favorite part of the illustration process for a new project?
(HM) The initial thinking of the ideas and finishing!
(LC) How many different mediums do you work with? Water color, inks… and which one is your favorite?
(HM) I have worked in many different mediums … right now I prefer all the drawing to be in pencil and colour digitally, but I hope to bring more mixed media to work in the future.
(LC) Are you ever looking to write/illustrate your own book or do you wish to stay on the illustration side of things?
(HM) I am writing now … it's definitely the route I want to go in the future.
(LC) How do you choose your projects?
(HM) I have been lucky to have enjoyed all the books I have been offered so far in my career. It's hard working on more than one book at once. But that's a nice position to be in!
(LC) How many publishers do you work with? And what was your process for getting their attention?
(HM) I work with about 5 at present. They have found me mostly from postcard mailers or online. Facebook even!
(LC) Do you work with writer’s who wish to self-publish? What is the process like?
(HM) I have worked with several in the past, but now only occasionally and only if I really like the book. I would prefer to be working on my own books. It is very different from working with a traditional publisher. The most difficult part is usually because you are your own art director. I treat these projects more as commercial art where I am working to a specific brief. The author naturally wants more input over the art and that can be confining. With the growth of self-publishing it's hard for people to understand the role and worth of a good illustrator and the freedom they need. Without a good editor and art director that’s why most self-published books suffer and don't sell well - the publishing industry works as well as it does for a reason - the professionals have years and years of experience and training. You wouldn't just pick a dentist because he fancied having a go, would you? I think self-publishing is growing into a worthwhile sector of the business, especially with e-books and apps. Luckily greatness always floats to the top.
(LC) What about the Self-Publishing process? If a writer were to approach you for a project what are some of the items you would need in order to proceed with the project? Example: Compensation, timeline…
(HM) I always draw up a contract, including compensation, deliverables and what I expect from them and what they can expect from me. It helps to have everything clear at the beginning! But the process of doing the work is the same.
(LC) How do you feel about Self-Publishing?
(HM) I think it has a place in the market. I think what is going to drive it forward (and is doing so) is that professional illustrators and writers who know a lot about creating fantastic work, are jumping in and creating their own books. If it's digital the outlay is mainly in time. Going the traditional publishing route is very expensive still and it depends on time and effort and money, as well as marketing skills and publishing know how. Personally I am happy working with traditional publishers right now.
(LC) So Hazel, talk to me about your process for character development. How do you start with a new character? Do you have a tried and true structure you begin with every time or IS each character’s process different?
(HM) I start with the manuscript and make notes about how I feel about the characters age/looks/emotions etc. If it's something coming out of my head I will just start sketching. Work on different angles, different looks until the character starts to come through. Colour and technique might give me clues to the character too.
(LC) So after illustrating for a little while, who is your favorite character? Can you include a drawing?
(HM) I love 'Tick Tock, Taylor' from the All-Star Cheerleader Books I just illustrated for Kane Miller, by Anastasia Suen. She's bright and bubbly and fun and little girls just love her! I loved drawing her hair too!
(LC) When you are on a job, how much do you work with the art directors during the development process?
(HM) I will usually show character sketches before proceeding to spreads. Then they will see the roughs and I will take in changes. Then the on to the final art. And of course the cover which sometimes gets worked on first because of catalogues and marketing needs.
(LC) I know that you enjoy going to conferences, how do you choose which ones to go to? East/West coast…
(HM) I have done both, but right now have slowed down on conferences and am more likely to be going to trade shows and retreats. This Spring I will be teaching workshops at the SCBWI New England conference and that's exciting.
(LC) How do you prepare for a Conference? And what is your overall goal?
(HM) In the past I did a lot of prep with portfolio etc .. Nowadays it's more about enjoying the experience and learning from faculty and networking. Absorb and have fun!
(LC) I am sure you have a great stack of books on your nightstand/Kindle/ipad right now. What are they?
(HM) I am reading 'The Penderwicks' MG series by Jeannie Birdsall, 'Show Me a Story!' by Leonard S. Marcus, 'The Art of Pixar', 'How to Draw Steampunk' also Robert McCloskey's bio by his daughter. Oh and 'Second Sight' by Cheryl Klein.
(LC) Hazel if someone would like to chat with or check out your fabulous self and projects where might they find you?
* www.hazelmitchell.com
* www.hazelmitchell.blogspot.com
* www.pixelshavings.blogspot.com
* turbomonkeytales.blogspot.com
* lookbackincandour.wordpress.com
* www.etsy.com/shop/HazelMitchellPrints
* www.facebook.com/HazelMitchellSketchbook
* (twitter) @thewackybrit
Available for school and library visits, or just a chat ... email [email protected]
(LC) Finally what is the BEST thing about being a rock star illustrator?
(HM) The people you meet :-)
